BWW Blog: Christopher Castanho - My Journey To Become A Triple Threat

Striving to be a Musical Theatre performer often means striving to be a triple threat. (For definition of triple threat see: Sutton Foster) As I have been training to be a performer since I was young, there is one particular...threat...that I have felt threatened by. Dancing has never been my strongest suit in regards to the musical theatre holy trinity: acting, singing, and dancing.

When asked, "Are you a dancer?" I'd respond with "Well...I'm more of a mover."

I often wish I could go back in time and have my mom enroll me in ballet when I was six, as I did not receive dance training until I was fourteen. I have always felt a bit...behind. The choreography for my town's youth theatre was never technically intricate, so I was not at all used to difficult movement. Jazz squares were my bread and butter, but asking me to move my hips one way and head the other would thoroughly throw me off.

My first formal dance class was during my freshman year of high school, I took ballet twice a week. Fortunately, because I went to a performing arts institution, it was included in our curriculum. Unfortunately, the population of my school was so small there was no leveling in the courses. So I was enrolled with kids who had been studying at their local studios since they were three. Needless to say, it was quite an overwhelming experience at times.

Being placed in "Foundations of Ballet Technique" (the lowest level ballet class) my freshman year of college was not a surprise, I knew I needed the groundwork and I was happy to finally be in a class where I didn't feel like the worst dancer.

Being fortunate to work with incredible dance teachers, I have strengthened my mental and physical stamina to be a dancer, and I am forever grateful for their support. Throughout my dance education I have learned three important lessons: trust the process, always perform, and have fun.

Trusting in yourself is a big part of being a dancer. My generation craves instant gratification, and when we are unable to get what we want at that moment, we get irritated. My tap teacher, Shylo Martinez, would always remind my class to "Trust the process." You might not be getting those syncopated pullbacks today, but keep practicing and trust that after practicing, your body will execute what you want it to do. Possessing that mantra always takes a huge weight off of my shoulders.

Every time you dance, you are performing. It doesn't matter if you have an audience of one hundred or one. My ballet teacher, Mary Robare, has instilled that you must give each move one hundred percent of your energy, not only to improve but also for your artistic soul. Every combination you do, no matter if it's by yourself, or in front of a large audience, is a performance. Feel the music, let it resonate throughout every fiber of your being, and shine bright.

I have long accepted the fact that I am not the best dancer you will ever see. If I'm ever in a production of A CHORUS LINE I will probably be one of the dancers cut at the beginning of the show (and that's fine with me!) But I am absolutely the happiest dancer you will lay your eyes on. We tend to get wrapped up in focusing on the sequence of movement, rather than the emotion and joy of the song. The pure ecstasy and rush I feel when dancing is something I love. I LOVE to dance.

I have not been blessed with elastic hamstrings like some of my 'dancer friends.' I cannot kick my face or do the splits, but I can bring energy and enthusiasm that others cannot. Dancing has not been my strongest suit of the musical theatre disciplines, but with the support and guidance of incredible teachers, I can now say that I love it.

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